WHOCARES: Ian Gillan, Tony Iommi & Friends – “Holy Water” / “Out of My Mind” (2011 Edel charity single)
Remember Rock Aid Armenia? Ian Gillan, Tony Iommi, and many other friends gathered together to raise money for earthquake victims in Armenia. 21 years later, Gillan and Iommi returned to help again, by recording two more awesome songs. Joining them are Nicko McBrain, Jon Lord, Jason Newsted, and Linde Lindstrom from H.I.M.
First of all, I will just say how wonderful it is to hear Ian Gillan’s voice in front of Tony’s guitar again, first time since the Gillan’s Inn album. Even better is hearing Jon Lord’s organ with Ian. It’s just jaw-dropping and awe-inspiring. It makes you miss Jon Lord even more. It’s great that they managed to collaborate once more.
“Out Of My Mind” is a heavy-groove-sludge-monster, with some exotic sounding notes in the powerful riff. I don’t think I’ve ever heard Nicko McBrain play a groove like this before, proof that the man is one of metal’s greatest drummers; he’s versatile. The song vaguely reminded me of a more ominous “Soon Forgotten”, from Purpendicular. There’s also some face-melting guitar solos if all that wasn’t enough for you.
The second track, “Holy Water” is even more exotic. It has flute sounds and other non-rock sounding instruments. Once the song gets going though, it’s a little more upbeat than “Out Of My Mind”. The organ here is by someone named Jesse O’Brien, but once again the Hammond provides muscle.
To make this CD a little bit more worth the purchase price, they included the video for “Out Of My Mind” (made up of studio footage, much like the old Rock Aid Armenia video) and a 27 minute documentary.
I would have loved a vinyl copy. Only 1000 were made. I had it on pre-order from Amazon, but they never got it.
DEEP PURPLE – Rapture of the Deep (2 CD special edition, 2006 Eagle Rock)
Deep Purple, that hard rock institution that formed back in ’68, has been at it nearly non-stop with critically acclaimed albums and tours since reforming back in ’84. Lineup changes ensued, but by and large the band has retained its integrity even if only one member of the original ’68 lineup remains (drummer Ian Paice). However, this lineup of Purple is still 3/5 of the classic “Mark II” lineup that recorded Machine Head and Perfect Strangers, and is chock full of rock royalty.
Vocalist Ian Gillan is intact, his voice no longer screaming, but still unique and recognizable as a one-of-a-kind. His partner in crime, bassist Roger Glover is here, joining drummer Paice to complete the legendary rhythm section. On guitar is Steve Morse (Dixie Dregs), first joining Purple in ’95 and this being his fourth studio album. “New kid” in the band is keyboardist Don Airey, celebrating his second Purple album here, but no stranger to these guys from his work with Rainbow, Whitesnake, Ozzy and many more.
Airey’s first album with Purple, 2003’s Bananas, was a reboot of sorts. Gone was original member (and legend on the Hammond) the late Jon Lord, for the first time ever in Purple’s history. Also new on board was producer Michael Bradford, who was very much a collaborator. Bananas was a great album, but perhaps a little too commercial for Purple in the long run? Rapture Of The Deep is an attempt to steer Purple back to the sounds of ’71 while still retaining the modern edge that they gained with Bradford. It is raw and uncompromising, not slick at all, definitely and defiantly Deep Purple.
Purple and Bradford have produced here an album that is not an easy first listen, but a very rewarding 6th or 7th listen. If you give it a chance it will become a favourite. Keep in mind, these guys are musicians of the 60’s and 70’s. Back when people still had attention spans, you were supposed to listen to an album 6 or 7 times, usually in one night!
“Money Talks” kicks off the album with the growl of a Hammond B3, that’s how you know this truly is Deep Purple. Morse’s guitar, very different from Ritchie Blackmore’s, leaves a lot of space between the chords. It’s a different kind of riffing, staggered and jagged, fast and genius. Gillan’s lyrics are, as always, witty and full of humour. Only Gillan can chuckle in the middle of a lyric and make it sound like it’s suppose to be there, and he does.
“Girls Like That”, the second song, is more melodic and commercial A little bit more “Bananas”, and exactly what the album needed after the vicious “Money Talks”. Track 3, “Wrong Man”, has one of the most powerful Morse riffs on the album, and it sounds great live (more on that later). Fantastic song, great chorus.
The centerpiece of the album is the title track, “Rapture Of The Deep”. The guitar part sounds like a Morse trademark, slightly Arabic, rhythmically odd; just an entrancing song and worthy of the Deep Purple canon. As if this wasn’t enough, the next song “Clearly Quite Absurb” is simply one of the best ballads Purple have ever done. This is thanks to another trademark Morse guitar melody, and some wonderful singing by Gillan. The lyrics are emotive and optimistic. It sounds a lot like material from the wonderful Purpendicular CD, and keep in mind this is a band that doesn’t do a lot of ballads. There’s only this one ballad on Rapture Of The Deep.
Other standout tracks on the album includes “MTV”, a wry look at the life of a band of the “classic rock” format. Gillan and Glover must be used to certain interviewers getting their names wrong, and only knowing one song, judging by the lyrics:
“Mr. Grover n’ Mr. Gillian, you must have made a million, the night Frank Zappa caught on fire.”
“Kiss Tomorrow Goodbye” is one of the heaviest tracks, Gillan attempting a scream here and there, sounding like the furious side of Deep Purple is alive n’ well. “Junkyard Blues” is anchored by a solid Glover bassline, simple but metronomic, and then that takes us into the final track, the atmospheric “Before Time Began”. At 6:30, “Before Time Began” is not for people with ADD!
A great album, demanding of your attention. Worthy of your attention. Deep Purple have always had some kind of standards when it comes to studio albums. Even their weakest have some sort of integrity to them. Rapture of the Deep is not an immediate album, nor will it unseat Machine Head as the fan favourite. But it does serve to remind the world that Deep Purple are still a great band, within the confines that age brings with it. Deep Purple are in fact one of the best bands of this age, because they just refuse to sell out.
The bonus disc here is a treasure, and I am so glad I re-bought this album (third time now) to get these songs!
The “new version” of “Clearly Quite Absurd” sounds like a re-recording to me, with more orchestration. I’m not sure why this was done, the two songs have a similar feel even though they are instrumentally quite different. Both versions are equally great in my opinion. Yet even with a great song like this, Purple can’t get their new material on the radio! What a crime! “Things I Never Said” is a great song, a bonus track, with another busy Morse riff. This is originally from the Japanese release of the CD. Next up, finally released in its studio version (but recorded during the Bananas sessions) is “The Well-Dressed Guitar”. You may remember this instrumental workout from Deep Purple tours and live albums circa 2002 (check out the Live at the Royal Albert Hall CD). Then, five live tracks, the first ever official live tracks with Airey on keyboards! Two are from this new album (“Rapture” and “Wrong Man”), and there are three classics including — yes — “Smoke On The Water”. These tracks prove that no matter who is in the band these days, they still sound like Deep Purple. The other two live tracks are “Highway Star” and “Perfect Strangers”.
4/5 stars. Now What?!
I also have a single disc 2005 tin version from Edel Records. This one boasts an enhanced CD with studio footage and an EPK (electronic press kit video) which I’ve never watched.
WHITESNAKE – Come An’ Get It (EMI 1981, 2007 remastered with bonus tracks)
Come An’ Get It is my favourite Whitesnake album. Therefore it’s a bit of a surprise that I still haven’t reviewed it. On the other hand it’s always nice to leave some goodies for later and cherish them, I suppose?
The first time I heard this album was in 1990. I had ordered the cassette from Columbia House, and brought it with me on a trip to go visit my cousin and aunt in Calgary, Alberta. I remember I brought two brand new (to me) albums with me from that Columbia House purchase; the other was School’s Out by Alice Cooper. I ended up loving both, not a bad trip eh? Driving through the mountains with “Lonely Days, Lonely Nights” by Whitesnake on the earphones was pretty fucking cool.
Come An’ Get It features this classic Whitesnake lineup, aside from David Coverdale himself:
Jon Lord – organ
Ian Paice – drums
Bernie Marsden – guitars
Mickey Moody – guitars
Neil Murray – bass
Basically, THE lineup of early ‘Snake. In the liner notes, David says he finds this to be one of his most consistent efforts, and his favourite of the early band.
The incredible album kicks off with the flirtatious title track, Cov the Gov as cocky as ever, with this seasoned band behind him solidly grooving. “If you want it, come an’ get it, I got something for you.” And kids, I hate to break it to you, Coverdale’s “something” was not something innocent like candy or treats.
“Hot Stuff” is the second track, which changes up to a breakneck speed. Lordy on the piano hammers away, keeping up with the furious pace of Paice and the 3 M’s – Moody, Marsden and Murray. Another standout.
The single, “Don’t Break My Heart Again” is a bit more ominous, with Lord’s trademark Hammond organ carrying the song. It’s a bit darker, a bit plaintive, David convincing us that he really is heartbroken, even though two songs ago he was begging some lovely lass to “Come An’ Get It”. This is a standout song, with fantastically colourful solos and a memorable melody. Shades of the Whitesnake to come.
The aforementioned blues, “Lonely Days, Lonely Nights” follows. It’s this kind of song that David really sinks his teeth into. Moody and Marsden throw in plenty of bluesy licks, Lord with his Hammond colouring the backdrop. Once again, David will have you convinced that somehow, he really is lonely. Lonely, even though the very next song talks about how much he loves “Wine, Women An’ Song”!
“Wine, Women An’ Song” is actually my favourite tune on the album. Coverdale is as cheeky as ever:
“If I can make you smile, I will raise my glass, But if you don’t like it, baby you can kiss my ass, Yes indeed… You can tell me it’s wrong, but I love wine women an’ song!”
This barroom piano bopper is irresistibly catchy. I’ve always been a sucker for past piano tunes, that’s why I love Little Richard I guess! David’s done a number of these over the years (“Bloody Mary”, “Bloody Luxury”) but this one is my favourite. And that ended side 1.
Side 2 kicked off with one of David’s more philosophical songs, a style he also does well. “Child of Babylon” starts slow and bluesy but soon becomes something a bit more menacing. This is another triumph. “Would I Lie To You” returns David to his cheekier side. “Would I lie to you…just to get in your pants? I think so,” winks Cov the Gov. This is just a fun Whitesnake tune, catchy, danceable, tongues in cheeks (just not necessarily the cheeks of the tongue’s owner).
My least favourite song is the next one, the slightly funky “Girl”. The liner notes compare it to Deep Purple; I don’t think so. Yes, both bands forayed into funk. I think Deep Purple did it better than this. Much better is “Hit An’ Run”, which drives. This song kicks. David’s vocal is perfect, and there’s even a talk-box solo, and then a killer slide solo! What more could you want?
The final song of the original album was “Till the Day I Die”, another one of David’s perfect philosophical album closers. He seems to like to close his albums with tunes like this, or “Sailing Ships”, songs with some mood and thought to them. “Till the Day I Die” is one of the best ever, a dramatic, sweeping number that goes from acoustic to epic in under five minutes.
Martin Birch produced Come An’ Get It, as he did many ‘Snake platters. It has a workmanlike sound, powerful enough, sonically clear, with excellent performances. Slide It In is more powerful in the long run, but this is a step on that road.
There are six bonus tracks to keep you satisfied after the main meal. Think of this as dessert, as these are unfinished or rough mixes of album tracks. There is nothing especially revelatory here, but as added value, it’s nice to have these bonus tracks. There’s some unheard stuff here, such as Ian’s count-in to “Child of Babylon”, nothing mindblowing, just nice to have to fill out the CD. Some alternate vocals, solos, and so on.
The liner notes by Geoff Barton are excellent, loads of photos, lots of text. Coverdale shows up to offer his perspective, and illustrates a harmonious band firing on all cylinders.
Keep in mind that context is everything, especially when it comes to music. I have powerful memories of this album. For you, it might not be worth it, but for me:
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